Velocity sensitivity missing with converted soundfonts

[Jokeyman123]

Just noticed-when I converted soundfonts with Chicken Systems Converter (not Translator) I have been successful converting and porting all the programs from Arachno, Fluid and a soundfont called "Giant"-into the Fusion but velocity settings are not there, seems to get lost in the conversion. How can i apply "normal" keyboard velocity response to these converted soundfonts? checked the setting for individual samples and presets with Viena, Polyphone and Awave-the settings for velocity range are there according to these soundfont/sample editors, but when I convert these over-the sounds have a fixed velocity range. Any ideas as to what I am missing or how to get velocity working with these? My global velocity setting is fine, all my other Fusion programs work well with velocity settings. Seems definite-it is just the soundfont conversions that have no variable velocity-only fixed. Thanks

[Jesse]

Hi Klaus & Julia, whats the difference between the "Dynagrand" "Stage Grand" "and the "C Maj 7/8"?

Hi, sorry for the late reply, the old Forum was mostly unavailable recently and I didn't see your post eariler.

So, the difference between these three sample libraries are the instruments and the dynamics. While they all provide completely different instruments the C Maj 7/9 is the oldest of these three and is providing only one dynamic (f) and the velocity settings are created with loudness and brilliance parameters. As I found out how to create Velocity Switch multisamples for the Fusion using the Soundfont sample format I had the chance to make that for DynaGrand and Stage Grand. Up to 4 dynamics (p, mp, mf, f) and still they fit into the regular 64 MB RAM.

I tried to demonstrate the dynamic range with the audio tracks on my shop website to get you an own impression about it. BTW it is a completely new shop with improved features (some elements are still to import from the old shop). Here's

DynaGrand https://bitr-store.de/shop/products/ale ... -dynagrand
Stage Piano https://bitr-store.de/shop/products/ale ... tage-piano
C Maj 7/9 https://bitr-store.de/shop/products/ale ... -c-maj-7-9

Cheers

Klaus

[kpr]

If a soundfont is converted from Fusioncoverter (free version) to the proprietary Fusion format, the program automatically creates a program preset per multisample. The parameter settings of this program preset are very rudimentary, you can't do much with it. The velocity is missing, also the envelopes are usually not usable.

So you have to do it all yourself, and suitably for each multisample. The only way to make the work easier is to create several basic templates, i.e. typical settings for pianos, leads, pads, etc.

What works with Soundfont generating programs like Viena are velocity switch multisamples, but that's a whole other story. The thing described above concerns velocity settings with the Modulation Matrix.

[Jokeyman123]

Think you KPR-you have confirmed my findings-and yes, looking at the envelopes for these sounds-I can see modifying these doesn't seem to alter what is already there. I can modify the envelope shapes and/or settings-but it has no effect! Very odd. and with Viena or any other soundfont/sample editor-I understand how to create layers for varying levels of dynamic response-but not worth the trouble IMO with at least these soundfonts-I might try with a few individual sounds-but on closer auditioning, these give me no better tones or programs than is already here. Does give me a variety of sounds to compare-but without velocity response, won't be much help.

[kpr]

That's why I don't do anything at all with these Program Presets automatically generated by Fusionconverter or Soundfont Editor, I leave them as they are and call them "Archive Sounds" as a quick search tool when looking for specific samples.

Instead, I work with the before mentioned templates. These are program presets as a prefabricated shell, into which I only insert a suitable multisample (i.e. converted soundfont) and then make a few minor adjustments, done. All parameters are already programmed for universal use, velocity, envelopes, even the right effects are already selected, because for a piano you need something different than for basses. In the book "My Fusion Secrets" I have included a soundbank with such templates, which makes the sound programming work much easier.

[Jokeyman123]

I was not aware you had such a book and resource. Is this on your website?

[kpr]

In the moement it is not on my website to see, because there is shortly a new distribution for it. But you can make the templates yourself. For example choose a piano preset and set the OSC volumes to zero and save it as a piano template in a new soundbank. When you have found a piano soundfont on the net, you simply replace the sample by add the new sample to this piano template program preset and adjust the volume to the Level you like and save that again in a new soundbank. This is how you build up the Template and Imported SF soundbanks.

[Jokeyman123]

I thought so! Thanks again, this works perfectly. after your description of templates, I realized the soundfont samples reside in their respective folders-and can simply, as you are describing-substituted into an existing factory sample-based sound and instant velocity, filter, envelopes, mod settings are all there. Sometimes the simplest things go right by me! Needs to be done one at a time-I am porting over only a few sounds which might be useful, although the pianos generally are weak-even though the Fluid, Arachno and Giant soundfont pianos are layered, alot less realistic than the HG version. There are a few woodwinds, one outstanding organ patch in one of these, but certainly no better than the Fusion's and yours. I play winds and brass-I actually found a few "dirtier' soundfont woodwinds that seem a little more realistic than their pristine counterparts due to their noisier attributes surprisingly. since i use the yamaha windo controllers-I have been seeking as realisitic bunch of woowinds as i can find-oboes, bassoons, soprano sax in particular is pretty hard to emulate-since so much of this latter instrument's timbre can vary depending upon who is playing it. Coltrane's soprano sounds very little like Kenny G's, and Pharaoh Sanders almost sounds like an oboe-while Grover Washington and Wayne Shorter-each had a 'signature" sound slightly different. This is why i am trying so many different samples. Like Coltrane said-the reason I play so many notes-I am trying to find the one perfect one...very zen, very spiritual he was!!!